THE ANGEL'S EGG (1985) is a lovely collaboration by Japanese cinema and anime pioneer Mamoru Oshii (later to direct PATLABOR and GHOST IN THE SHELL) and truly gifted illustrator Yoshitaka Amano (VAMPIRE HUNTER D and FINAL FANTASY). Oshii's work is reminiscent of David Lynch's in many ways, it's always slow, offbeat and either works (most of his anime films) or doesn't (his cold and artificial live action film AVALON). THE ANGEL'S EGG is paced very akin to a David Lynch film. Like ERASERHEAD, it feels like about 10 minutes of plot stretched out to over an hour and while it does share that film's sense of the bizarre, it's effect is less Lynch's dread and more akin to the cold but beautiful tranquility of Kubrick's 2001: A SPACE ODYSSEY.
THE ANGEL'S EGG is amazing barrage of gorgeous visuals that slowly creep up on the screen for one to admire. It's images of egg-carrying little girls walking across a destitute landscape, strange, orb-shaped machines, ancient skeletons and villagers spearing illusionary fish which they will never catch (perhaps a metaphor for religious fanaticism) are truly lovely. The animation is beautiful and it translates Amano's visions, of a world not of the past, present or future that looks equal parts medieval and post apocalyptic, the best of any animation rooted in his worlds. One can choose to see the film for its metaphors, but one is more recommended to simply sit back and enjoy the lovely, painterly images that flash before your eyes.
If you are expecting something furiously paced and full of action and violence like many other anime films, you will be let down and the film is not recommended. It's the closest Japanese animated film to being a true art-house film and is recommended to be approached with that mentality. Simply sit back for an hour or so and let this film take you to its vivid world. Highly recommended for lovers of artistic and intelligent animation.
THE ANGEL'S EGG is amazing barrage of gorgeous visuals that slowly creep up on the screen for one to admire. It's images of egg-carrying little girls walking across a destitute landscape, strange, orb-shaped machines, ancient skeletons and villagers spearing illusionary fish which they will never catch (perhaps a metaphor for religious fanaticism) are truly lovely. The animation is beautiful and it translates Amano's visions, of a world not of the past, present or future that looks equal parts medieval and post apocalyptic, the best of any animation rooted in his worlds. One can choose to see the film for its metaphors, but one is more recommended to simply sit back and enjoy the lovely, painterly images that flash before your eyes.
If you are expecting something furiously paced and full of action and violence like many other anime films, you will be let down and the film is not recommended. It's the closest Japanese animated film to being a true art-house film and is recommended to be approached with that mentality. Simply sit back for an hour or so and let this film take you to its vivid world. Highly recommended for lovers of artistic and intelligent animation.